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李魁正先生不仅是享誉海内外的杰出画家,更是优秀的美术教育家,他倡导的“立体交叉,多方位组合”的教学思想,成为当代中国画教学的全新模式和重要理论。他精于工笔没骨花鸟,兼擅泼绘写意花卉。“立今承古,立中融西;立足本根,放眼大千”是其创作理念的凝练,艺术上注重中西融会、工写结合,主张以全方位的宏观思维及现代审美意识重新表现花鸟世界。在理论方面《线意和色调—谈工笔花鸟画的继承和革新》《没骨画的重新崛起》《骨法用笔与尚骨精神》《现代没骨与泼绘—我的艺术探索和实践》成为当代中国画创作中有着重要影响的理论。进入新世纪的十年,凝重醇熟的笔墨语言,宏大深邃的画面意境,将其创立的泼绘写意艺术推向成熟,使其成为当代花鸟画创新的坚实实践者。蔡若虹先生曾经评价说:“李魁正的画在构图、色彩、用墨等方面都有创新,对中国美术的贡献是具有里程碑意义的。”
Mr. Li Kuizheng is not only an outstanding painter at home and abroad, but also an outstanding art educator. His advocacy of “three-dimensional cross and multi-directional combination” has become a brand new model and an important theory in contemporary Chinese painting teaching. He is good at writing without flowers and birds, and is good at splashing freehand flowers. “Li Cheng ancient, legislation in the West; based on the root, look big” is the conciseness of its creative concept, the art focuses on the integration of the East and the West, advocating a comprehensive range of macro thinking and modern aesthetic re-performance Bird and flower world. In Theory, “Intention and Hue - Talk about the Succession and Innovation of Meticulous Flowers and Birds”, “The Rise of a Boneless Painting”, “The Sutra Method and the Sutra Spirit”, “Modern Boneless and Splatulous Painting - My Art Exploration and Practice” Become a contemporary Chinese painting has an important influence on the theory. In the ten years of the new century, the mature pen and ink language and grand and profound artistic conception of painting have been popularized, and the art of splashing and freehand painting created by them has been matured into a solid practitioner of contemporary flower and bird painting innovation. Mr. Cai Ruohong once commented: “Li Kui-ch’ing’s paintings are innovative in composition, color, and ink, and their contribution to Chinese fine art is a landmark.” "